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ART AND EDUCATl 
IN WOOD-TURNING 




WILIilAMWK 




Class __ 
Book_ 



(t^ m^ 



Gopyiiglit}^°_ 



Ci)fURIGHT DEPOSHT. 



ART AND EDUCATION 

IN 
WOOD-TURNING 



A TEXTBOOK AND PROBLEM BOOK 
FOR THE USE OF STUDENTS 



BY 

WILLIAM W. KLENKE 

INSTRUCTOR IN WOODWORKING AND ARCHITECTURAL DRAWING, 

CENTRAL COMMERCIAL AND MANUAL TRAINING 

HIGH SCHOOL, NEWARK, NEW JERSEY 




THE MANUAL ARTS PRESS 

PEORIA, ILLINOIS 






Copyright, 192 i 
William W. Klenke 



JAN -9 1922 
iCi.A654l58 



tn 



To My Wife 
Edith Elizabeth 



FOREWORD 

THIS book is intended primarily for the use of students in 
normal schools, high schools, colleges or similar institutions 
and for lovers of all things useful and beautiful in wood- turning. 
It aims by means of text and illustrations to give such facts about 
the art of wood-turning as are needed by students and teachers in 
the schools. In giving these facts, whenever there is a question 
between two methods of procedure, the one being the method of the 
factory expert in wood-turning, and the other the method of the 
art craftsman in the school, the latter has been employed. As a 
result it is sometimes true that a less direct method is recommended 
than is employed by the commercial turner, but this is justified on 
the ground of the purpose of the book, which is fundamentally 
educational. 

Besides being a book of instruction on the process of wood- 
turning, it is a book of problems, in the designing of which the 
author has constantly aimed to recognize beauty of form. As in- 
dicated by the title of the book, the author's chief purpose has been 
to make a contribution to the teaching of art and to education, 
thru the fine old craft of wood- turning. 

Acknowledgments are hereby given to my wife for her untiring 
assistance in compiling the text of the book. 

I gratefully acknowledge, also, the willing attitude of my 
students in helping to work out the models, in posing for the 
photographic illustrations and in co-operating in the working out of a 
higher type of wood-turning. For the working out of the tea wagon 
wheel, acknowledgment is made to Samuel E. Wardell of the 
Central High School, Newark, N. J. 

Acknowledgment is made to Charles F. Moore, head of my de- 
partment, for his helpful attitude. 



CONTENTS 

PAGE 

The Shop ii 

Tools and Equipment ii 

Grinding and Sharpening 14 

Starting Spindle Work 17 

Roughing with a Gouge 19 

The Parting Tool and Calipers 20 

The 'Skew Used for Smoothing Cylinders 22 

The Skew Chisel for V's and Beads 24 

The Gouge Used for Turning Coves 27 

Design 27 

The Darning Ball 29 

Sandpapering 30 

Finishing ^^ 

The Potato Masher 36 

Indian Clubs 38 

Dumb-Bells 38 

Screwdriver Handles 40 

The Mallet 44 

Gavels 47 

The Rolling pin 50 

Bowls. 54 

The Napkin Ring . 60 

Picture Frames 68 

Boxes : 68 

Combination Turning — Candlesticks 70 

Lamp Standard 76 

Lathe Boring 76 

Segment Work 78 

Serving Tray 82 

Collar Box 84 

Button Box 84 

Cheese and Cracker Dish. 86 

Sewing Set 86 

Nut Set 86 

7 



8 CONTENTS 

PAGE 

Clock Casing 88 

The Tea Wagon Wheel 92 

Croquet Set 94 

Long-Piece Turning — The Four-Post Bed 98 

The Floor Lamp 98 

Woods Used in Turning 102 

Don'ts 103 

Shop Discipline 104 

The Exhibit 106 



LIST OF PLATES 



PLATE PAGE 

I. Shoulders, V's and Beads, Coves 25 

II. Darning Ball 31 

III. Potato Masher 37 

IV. Indian Club . . . , 39 

V. Dumb Bell 41 

VI. Screwdriver Handles 42 

VII. Turning Tool Handles 43 

•VIII. Mallet 45 

IX. Gavel 48 

X. Gavel ' 49 

XI. Rolling Pin 52 

XII. Umbrella Handles 53 

XIII. Nut Sets 55 

XIV. Drawer Knobs and Caster Cup 57 

XV. Match Box Holder 58 

XVI. Bath Room Stool 59 

XVII. Napkin Rings 61 

XVIII. Drawing Set 64 

XIX. Bread Board 65 

XX. Tea Pot Stands 66 

XXI. Tray and Frame Mouldings 67 

XXII. Boxes 69 

XXIII. Girl's Dresser Set 71 

XXIV. Candlestick 73 

XXV. Candlestick 74 

XXVI. Electrolier or Candlestick ._ 75 

XXVII. Lamp Standard 77 

XXVIII. Flower Holder . , 79 

XXIX. Smoking Stand ". . 81 

XXX. Collar and Button Box 83 

XXXI. Cheese and Cracker Dish 85 

XXXII. Sewing Set 87 

XXXIII. Nut Bowl 89 

XXXIV. Clock Casing 90 

XXXV. Tea Wagon Wheel 91 

XXXVI. Croquet Set 93 

XXXVII. Four Post Bed 99 

XXXVIII. Floor Lamp 100 

XXXIX. Floor Lamp loi 



THE SHOP 

Fig. I shows the plan of a shop similar to one in use at the 
Central High School, Newark, N. J. The shop should be equipped 
with both benches and lathes so that it may serve a three-fold pur- 
pose — that of (a) wood-turning, (b) pattern making, and (c) joinery. 
The position of the lathes and benches in relation to the light is 
good, the light shining into the cone pulley. The distance between 
benchfes and lathes has been tried out, and should not be reduced. 

The t3^e of lathe to purchase will not be discussed further than 
to mention the author's preference for the style of lathe having 
the large step of the cone pulley to the outside, and the adjustments 
for holding the tee-rest and tail-stock worked with a hand wheel 
rather than a cam. 

The band-saw, grinder and trimmer are almost indispensable 
in a well-ordered shop. A small drill press and 6 " jointer save time, 
and make for accurate work. A small circular saw also is a fine 
addition to the shop. 

The floor of all shops should be of maple — no cement floor being 
practical, as, in the first place, many tools are broken when dropped 
on the floor, and secondly, standing on a cement floor is harmful 
to the worker. . 

Lastly, allow plenty of light and air to enter; increase the num- 
ber of windows indicated on the plan if the layout permits. The 
northern exposure is to be preferred. 

TOOLS AND EQUIPMENT 

Having decided upon the type of lathe to be used, the next step 
is the general arrangement of the shop equipment. 

Fig. I shows the position of the lathes and benches, so as to get 
the maximum amount of light at each lathe, to allow ample room 
for the student to work and pass about the room, to have the 
grindstone and band-saw handy, and yet not waste any floor space. 

II 



12 



ART AND EDUCATION IN WOOD-TURNING 




■Two Srtps Pots. LEcrvwRE Chairs. 




dANOSA-NV- 



— 6-<i'; 

•5>PEC1A_ v-ATHt 



X ^X.^^, 



•5TA1H '^•"'QLVE BtNCH- 



-Man ^Screws 



-4-0 



Lathe-) 

' I 



Bemcm- 



T 



ST>cciA>- tool; 



^^ 



6-0^ 



PLA.TS "'"TME: 5nOT:>- Note.- 

AOD WINDOWS AT 
END foR COR.NtK.'EooMi 



6'- o" 
•Show Case 



:> 



i 



Fig. I. 



TOOLS AND EQUIPMENT 



It is poor economy to equip a room with lathes alone, as such 
an arrangement can only be used as a wood-turning shop, whereas 
the plan suggested makes the room suitable for pattern making 
and joinery as well, or a combination of any of the two. 



~^r 



ir 



->r 



-\r- 



.JL. 



JL )^. 



JL. 



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JK JL 




6" outside calipers, Fig. 3, c. 
6" inside calipers, Fig. 3, d. 
India oil stone slip, Fig. 3, f. 
Copper oil can. 



. Fig. 2. 

Each lathe should be equipped with : 

' gouge, Fig. 2, a. 

1" gouge. 

' skew chisel, Fig. 2, b. 

'" slvew chisel. 

':" parting tool, Fig. 2, c. 

The bench should be equipped with the ordinary joinery tools. 
The special tool rack should contain the following: 

I doz. 14," socket chisels, Fig. 3, a. 

I doz. }i" ilat scrapers. Fig. 2, d. 

}4 doz. 14" flat scrapers. 

I doz. I " flat scrapers. 

}4 doz. }4" right-hand skew scrapers, Fig. 2, e. 

}4 doz. }4" left-hand skew scrapers, Fig. 2, f. 

yi doz. }i" left-hand skew scrapers. 

^2 doz. }4" right-hand skew scrapers. 

y2 doz. ^2" round-nose scrapers. Fig. 2, g. 



14 ART AND EDUCATION IN WOOD-TURNING 

y2 doz. X" round-nose scrapers. 

yi doz. y^" diamond-point scrapers, Fig. 2, h. 

% doz. 6" dividers, Fig. 3, e. 

yo. doz. 9" cabinet files. 

2 file cards. 

^A doz. 9" screwdrivers. 

I set auger bits. 

1 set from No. 5 to No. 12 twist drills. 

2 Millers Falls Hand drills, No. i. 

2 turner's sizers (outside), Fig. 3, b. 
I pair of large calipers. 




Fig- 3- 

A staining and gluing bench is provided, with the necessary 
shelves for stains, shellacs, alcohol, fillers, turpentine, kerosene oil, 
sandpaper, waste, glue, handscrews, etc. 



GRINDING AND SHARPENING 

Generally speaking, turning tools may be divided into three 
groups, (a) the roughing-off tools, (the gouge), (b) the smoothing 
or cleaning-up tools, (the skew), and (c) the scraping tools, (the 



GRINDING AND SHARPENING 



15 



flat skew, round-nose, diamond-point and other specially shaped 
tools used for scraping) . 

The grinding of all the above named tools is about the same, 
only differing in a few details. In every case the grindstone should 




revolve towards the operator, Fig. 4. The tool to be ground is 
held low at the start, and gradually raised to a position so that the 
bevel will he flat on the stone. This angle is then maintained 
thruout the grinding. In the case of the gouge, since the tool is 



'^F = ySB^^ * ' ■ ** 



HH 



Fig. 5. Whetting a (iouge. 

convex on the outside (and the bevel is on the outside), it will be 
necessary to roll the tool, and at the same time work it from one 
side of the stone to the other. The rolHng motion makes it possible 
to grind all parts, and working it from side to side, prevents the 
wearing of a hollow in the stone. 



i6 



ART AND EDUCATION IN WOOD-TURNING 



To whet a gouge, the oilstone slip, Fig. 3, is used. Hold the slip 
in the right hand and the gouge in the left hand, Fig. 5. Two move- 
ments are necessary — one to work the stone 
back and forth, the other to roll the gouge 
from side to side. After some time, a burr 





Fig. 7. 

will be seen to form. To remove this burr, 

rub the slip on that side several times, then 

repeat the entire whetting operation until 

the gouge has been properly sharpened. 

The grinding of the skew is somewhat different from that of the 

other tools, in that this tool has a bevel on both sides, and the 

cutting is not at right angles to the sides. Fig. 6 illustrates the cor- 



Fig. 6. 




Fig. 8. Whetting a Skew Chisel. 

rect position of the skew while being ground; i.e. the cutting edge 
is kept parallel with the top of the stone. . In whetting the skew the 
same principle is carried out, Figs. 7 and 8. 

All scraping tools are ground only on one side. The foregoing 
instructions hold good for the grinding, but not for whetting. Since 



GRINDING AND SHARPENING 



17 



the function of a scraper is to scrape and not to cut, it will be 
necessary to let the burr remain on the tool. This burr works as the 
burr on a cabinet or floor scraper. 

If properly sharpened, with this burr, it is possible to work 
the wood down clean and quickly with any scraping tool. 




Fig. 9. 



STARTING SPINDLE WORK 

In order to get the most out of the stock given, and also to 
lessen vibration at the lathe, it is essential that one learn how 
to locate the center of the wood to be turned. 

Fig. 9,1 illustrates a very simple and most commonly used 
method for locating the center. If the ends of the stock are square 
or nearly so, we know from geometry that the diagonals of the 
square bisect each other at the center. 

Any straight edge will do for drawing the diagonals. Stand the 
wood on one of its ends and with the aid of a rule and pencil draw 
the required lines. The bed of the lathe or top of the tee-rest 
can be used to butt the wood against, to save looking for and hand- 
ling a straight-edge. 

Fig. 9,2 illustrates a method used on wood that is much out of 
square. Set a pair of dividers either a little greater or a little less 
than half the thickness of the wood, and, holding the block on 
something flat, scribe the four lines from the different sides. The 
center can thus be readily located. Instead of the dividers a parallel 
block or marking gauge can be used to obtain the same result. 



i8 



ART AND EDUCATION IN WOOD-TURNING 



Fig. 9,3 illustrates a rough piece of wood with no true shape. In 
order to get the desired diameter out of this stock it is necessary to 
draw the largest possible circle at each end. 

In commercial turning, these methods are not generally used. 
The turner makes a guess at the center, starts the wood in motion 




Fig. II. 



Fig. lo. 



(by hand) and gently puts his gouge in contact with the wood, 
whereupon only the high corners will be hit. By lowering the wood 
with a tap or two of his mallet, hit on the high side, the wood is 
accurately centered. It must be understood, however, that the 
guess must be a good one, and this only comes with practice. 

When a large number of pieces are to be turned, especially 
those of large dimensions, the turner often cuts a block as illus- 
trated in Fig. 9,4, the distance AB being equal to exactly one-half 
the thickness of the stock. By using this as a gage and drawing two 
lines from adjacent sides, the center is accurately and quickly 
located. 

The center having been found, the next step is to place the 
wood in the lathe. With the aid of the ramrod, drive out the live 
center of the lathe, then drive this center into one end of the wood 
(the end upon which the largest amount of turning is to be done). 
A mark, x, should be filed on one of the blades of the live center, and 
a corresponding mark put on the part of the wood this blade is to 
enter in order to indicate which blade was at that place. This is 
done so that the work may be removed and put back without shifting 
the center. 



STARTING SPINDLE WORK 



19 



Place the live center and wood in the lathe, holding the latter 
with the left hand. With the right hand, turn the spindle of the 
tailstock out about i " , and then move the tailstock up to the work 
so that the dead center just comes in contact with the wood; then 
clamp the tailstock in place. Next, the dead center is forced into 
the wood by turning the spindle screw. At this point a drop or two 
of oil placed on the dead center where it comes in contact with the 
wood will ease the friction caused by the revolutions of the wood 
against the dead center. Now clamp the spindle securely to pre- 
vent jt from working back while the piece of wood revolves. 

Turn the wood so that one of the end diagonals will be hori- 
zontal, then move the tee-rest as close as possible to the work, 
having the top on a line with the 
edge of the wood. Fig. 11. Clamp 
the tee-rest in place. The height at 
which the tee-rest should be placed 
should be determined solely for the 
comfort of the student or worker. 

Before starting to turn, try the 
various adjustments to make certain 
that all are secure, and revolve the 
wood by hand to make sure that it 
clears the tee-rest. 

ROUGHING WITH A GOUGE 

Fig. 12 illustrates a good posi- 
tion at the lathe. Put the weight of 
the body on the left foot; place the 
right foot one step forward. In this 
position the operator has freedom, 
of motion to rock back and forth, 
thus obtaining the flexibility neces- 
sary at the lathe. 

The left hand should slide along the tee-rest, gripping the tool 
as illustrated, Fig. 13. The right hand is held near the end of the 
handle and is kept against the hip bone. 




Fig. 12. Position at the Lathe. 



20 ART AND EDUCATION IN WOOD-TURNING 

When possible work from the center out, to avoid hitting the 

corners and splitting the entire piece. 

The gouge, you 
will notice. Fig. 14, 
is tilted slightly so 
as to throw the 
shavings away from 
the face of the oper- 
ator. In order to 
cut a shaving, care 
must be taken to 
hold the handle of 
the gouge low, Fig. 
Holding a Gouge. ^3 and 14; if held 

horizontally a 

scraping cut will result, which will tear the fibres of the wood. 





Fig. 14. 



THE PARTING TOOL AND CALIPERS 

In order that the wood-turner may have some quick and efficient 
method for obtaining a desired diameter, he resorts to the use of a 
parting tool and a pair of calipers. Fig. 15. Where, however, a 
number of pieces with the same diameter are to be turned, he often 
uses a combination of these tools, known as a turner's sizer, Fig. 3, b. 
If he has a sufficiently large number of articles to turn, each with 
several different diameters, it would be folly for him to set three or 
four turner's sizers, as this would necessitate handhng too many 



THE PARTING TOOL AND CALIPERS 




tools, and again there would be difficulty in keeping track of the 
diameter of each. Where such a problem confronts him, he works out 

accurate gages, 
Fig. 1 6, with the 
diameters placed 
in the order he 
intends using 
them. 

Fig. 15 illus- 
trates the cor- 
rect method for 
using the cal- 
ipers and parting 
tool. Both are 

Fig. 15. Using the Perting Tool and Calipers at one Time. worked at one 

time, the calipers being held at right angles to the axis and resting 
gently in the groove cut by the parting tool, which is held high on 
the work and grad- 
ually lowered to- 
ward the center as 
the cut is being 
made. When the 
diameter, at which 
the calipers are set, 
has been cut, the 
caKpers will drop. 

In order that the 
calipers may work 
freely, it is advis- 
able to round the 
ends with a file, 
otherwise there is 
danger of them 



'TO TURN A NUMBtI^ OP MANDLE5 



<3AV/fiE: FOR Dl/\/v\&TE:R5 




B12AD5 



dit 



-Zt. 






)6 



CA\JCE,B- fGH LtNcSTH 



Fig. 16. 



catching in the fiber of the wood, and being thrown some distance. 

To use the turner's sizer, it will first be necessary to have the 

work reasonably near the desired diameter, otherwise the tool can- 



22 ART AND EDUCATION IN WOOD-TURNING 

not be used. The use of this tool is similar to that of a parting tool 
in its cutting stroke, only it will be necessary to pull slightly on the 
handle so as to keep the caliper end in perfect contact with the 
cylinder. 

The use of the gage is almost the same as that of the calipers. 




Fig. 17. Setting Calipers over a Mandrel. 

To set the calipers quickly and accurately it is a good idea to 
use a cylinder of known diameter and set the calipers to fit that, 
as indicated in Fig. 17. 



THE SKEW USED FOR SMOOTHING CYLINDERS 

Place the skew high up on the wood and draw downward, 
gradually, lifting on the handle, until the bevel clears the wood, 
allowing the tool to cut. Always keep the toe above the wood. 
Fig. 18, cutting with the center and lower part of the cutting edge. 
A great many turners work entirely with the toe forward, keeping 
the heel clear, but the author prefers working with the toe free, 
altho both ways give good results. 

The height at which the handle of the skew is held must be 
governed by the bevel, Fig. 18. If held too high, the cut will be in 
ridges; and on the other hand, if held too low, the tool will not cut. 



THE SKEW USED FOR SMOOTHING CYLINDERS 



23 



When cutting shoulders, part to the desired diameter first, 
rough off the wood with a small gouge, make the vertical cut with 
the toe, Fig. 19, No. i, then clean out the shoulders with the heel, 
Fig. 19, No. 2. The consecutive steps for Problem No. i; Plate I, 
shoulders, are illustrated in Fig. 20. 




Fig. 18. 




Fig. 19. 

With all spindle turning always (a) turn to the large diameter, 
(b) cut to length, and (c) lay out the job with a sharp pencil and rule. 

Before working exercise No. i, the student should practice on 
a scrap piece of wood, (a) turning a straight cylinder with the 
large gouge, (b) parting to different diameters with the parting 
tool and calipers, and (c) smoothing cylinders with the skew chisel. 

Almost any soft wood works well for the first three exercises, 
altho the author prefers using white wood. The rough stock for 
all three exercises should be 2"x2"x9^". 

Fig. 20, a photographic reproduction of a model board in use 
in the author's classes, has been invaluable to the beginners in 
working out exercise No. i. Besides this board, the student works 
from a blue print, Plate I, and is given a class demonstration. 



24 



ART AND EDUCATION IN WOOD-TURNING 



ECOUGM 

GcSvee 



It is never advisable to cut the work free in the lathe, if the 
best results are to be obtained, as the waste wood often breaks in 

the wrong place, taking more wood 
with it than is desired. It is there- 
fore advisable to cut to about the 
size of a lead pencil, then remove 
the work from the lathe, and do 
the final cutting off with a sloyd 
knife. Even at this point, great 
care must be taken to use a sharp 
knife and try not to cut too rap- 
idly. 

It must be remembered, since 
the driving power is at the Kve 
center end, that this end should 
be weakened last, and never cut 
quite as small as the dead center end. 






CUT-TO 
! LENGTH 

USE^WLL 
S^\ALL-5KEW 






^•P^iw 



THE SKEW CHISEL FOR V'S 
AND BEADS 



Fig. 20. Model Board for the ist 
Exercise. 



Having indicated, with a light 
pencil line, the location and width 
of the V, hold the }4" skew at the proper angle (that of the 
V) and with a slicing motion, using only the very point of heel or 
toe of the tool, lift on the handle, thus making one side of the cut, 
Fig. 21. 

The other side is cut out in like manner. Notice that the 
tool is held high at the cutting edge when starting, and lowered 
in the direction of the axis when finishing. Some turners prefer to 
use the toe, while others find that the heel works a little easier. 
Either way is correct, and both work well, altho a very deep, 
narrow V is better made by using the toe. 

The first steps in turning a bead are identical with those of 
the V, since V's are cut on either side of the bead, Fig. 22, to give 
clearance when making the final cuts. 



SHOULDERS, V'S AND BEADS, COVES 



25 



SftOViLDmS 









1 — ] 
















i 




1 






J 
1 




i 1 


* ■ P" 






1 — [—t — , 
0" 


" 




A" 







V^^°BpAD5 




> rUld i"M «" li't 3" J rL- 1 " 
a 



NOTt 

ENDVlDX/5 WILL ONLY 
BE SnOWN ^lAEN NEED 
ED-T/AE5E PUOBL&/A5 
ARE ROUND IN SECTION 



Plate I. 



26 



ART AND EDUCATION IN WOOD-TURNING 



To roll the bead, as it is sometimes called, start with the y^" 
skew held at right angles to the axis, the cutting edge high and the 
tool flat upon the tee-rest, Fig. 22. 




Fig. 21. 

The point of the heel does all the cutting, and must therefore 
be very sharp in order to cut clean and with ease. Pivot the skew 
over from a horizontal to a vertical position, lowering the cutting 
edge gradually, and lifting on the handle, at the same time swinging 




Fig. 22. 



a little to one side. This completes one side, provided the cut is 
deep enough and of the proper curvature. The other side is turned 
in like manner. 

It is a good idea for beginners, in order to insure symmetry, and 
to hold to the correct diameter, to mark a light pencil line on the 
center of each bead and cut to just a hair's breadth each side of this 
line. 



THE GOUGE USED FOR TURNING COVES 



27 



THE GOUGE USED FOR TURNING COVES 

The cove is generally recognized by turners to be the most 
difficult form to cut, and to some extent this difficulty is due 
to the fact that the gouge is the most difficult turning tool to 
sharpen properly. 




Fig. 2T,. 

Fig. 23 illustrates the successive steps taken in turning a cove. 
The gouge in turning a cove makes three distinct movements: 
(a) rolling from a vertical to a horizontal position; (b) the handle is 
pried outward, forcing the cutting edge into the center; (c) the 
handle is held high when starting and lowered when finishing. 

It must be remembered that the cutting stroke each time stops 
in the center of the cove, and the gouge should not be worked up 
on the other side; otherwise the fibers of the wood will be torn, 
leaving the cove in a rough condition. 

When turning a symmetrical cove, such as in No. 3, Plate I, the 
beginner will find that it is desirable to test the cove by a gage, or 
templet; several pieces of dowel rod of suitable diameters. will serve 
the purpose very well. 

DESIGN 

Before taking up our first completed problem, having acquired 
the necessary skill in turning beads, coves, etc., we must carefully 
consider the subject of design. 

It is too obvious to need further mention, that the general 
standard of wood- turning design, whether in school or in the shop, 
is far from what it might be. This lack of good design is to some 



28 ART AND EDUCATION IN WOOD-TURNING 

extent due to the fact that we elaborate, or display our skill too 
much, believing that wood- turning is the cutting of a mass of beads 
and coves, all without a meaning. 

The use to which we intend putting an article, will, to a great 
extent, govern the general outline, proportion, etc. The character 
of the wood, whether simple or complex in grain, all helps to add 
to, or detract from, the design. A wood rich in grain often needs 
only a graceful outline to make it beautiful, the grain being the 
decorative feature. 

A good design must have the following qualities, (a) simplicity, 
(b) unity, (c) variety, (d) harmony and (e) good proportion. 

Simplicity — Other things being equal, a simple article is the 
most beautiful. In working to this end, we must consider the 
profile — the general outline. 

It must be remembered however, that simplicity can lead to 
weakness in our design. We must have a certain amount of snap 
and strength to our work, not merely flowing lines. 

The kind of line to use is of great importance. Too many 
straight lines must be avoided; angular lines are ugly. The line of 
the circle is monotonous. The line of variety and grace only re- 
mains, and to this end we must work. Compare the line of a circle 
with that of a hen's egg. In the latter we have both grace and va- 
riety. 

Unity — By unity we mean the holding together of all the parts 
to make the whole. Let there be a foundation line; to this all 
other parts are to be subordinated. With unity we get balance: 
the balance of equal and unequal parts. The balance of equal parts 
can be shown by a dumb-bell. Here we have equal sizes on both 
sides, hence perfect balance. Chair legs, candlesticks, and similar 
problems show unequal balance. Here we have a large mass above 
and a small one below. In order to obtain good balance, where many 
parts are to be considered, it is necessary to group the parts and 
consider unity. 

Variety — The line, it has been shown elsewhere, may have 
variety by changing its direction and not having the same curva- 
ture. The flowing line, as that of a bead turning into a cove — a 



DESIGN 29 

compound curve, is continuous and often weak. In order to 
strengthen such a curve, the fillet is often used, Plate II. Where a 
line comes to an abrupt end, and almost returns upon its own direc- 
tion, we speak of it as contrasted; this should be avoided as much as 
possible. See the top of the potato masher, Plate III. 

Variety in decoration — When we add beads, coves and fillets, 
we must consider variety. All beads or all coves would be tiresome. 
Then, too, we must change the size of our beads and coves, not mak- 
ing all the same size. 

Hflrmony — The design of the object must be in keeping with its 
use, and one part with the other. A candlestick, for example, sug- 
gests solemnity, and should be rather tall and small in diameter. Of 
course, the diameter of the top must be sufficient to support the 
socket, and the base large enough to prevent the candlestick from 
being top-heavy. The base and the shaft should have some curve in 
common. In turning a gavel, it would not be advisable to turn a 
number of beads on the head, and coves on the handle. One part 
should echo the other. 

Proportion — Underlying the entire design we have the problem 
of proportion, and this to a large extent must be governed by com- 
mon sense and use. In order to gain strength we must naturally 
increase the diameter and thickness. This is brought out to some 
extent by the napkin ring. Since wood is not as strong as metal, 
our napkin ring must be kept a little heavier, and so it can be seen 
with many other problems. 

THE DARNING BALL 

Our first complete problem, combining all the cuts of the 
three preceding exercises, is represented by the darning ball, Plate 
II. 

In working out this problem, we not only make use of the 
various cuts just mastered, but we also introduce the use of sand- 
paper and polish. 

The stock for the darning ball is maple, 2^i"x2^"xg'' . Maple 
is used because it is a light-colored, tight-grained, hard wood, all 



3° 



ART AND EDUCATION IN WOOD-TURNING 



of which requirements are essential in the making of a good darning 
ball. 

Fig. 24 illustrates the blocking-out of the wood so as to properly 
locate lengths and diameters at important points. 

Having blocked out the work, turn the left-hand end of the 
ball, then the right-hand end, thus clearing away enough wood so 
that the small bead and cove can be turned. Fig. 25. Next the 
tapering part of the handle is shaped, and finally the rounded end. 

It must be remembered, however, that this problem is to be 
sandpapered, oiled, and polished, therefore it is not advisable to 





'TO BLOCK 0UTDA11N1N<3 BALL 
1 1 












1* 


-L 




{ 


L3" 

D 1 " ^' 






■^z 





Fig. 24. 



'TO BLOCK OV/T 

DEAD-flLLETA-^ 

^Tt-1 cove 



Fig- 25. 



weaken the ends beyond ys," diameter; until all polishing has been 
completed. 

The ends are to be cut clean with a knife, filed, and thoroly 
sandpapered, removing every scratch or mar. It may be necessary, 
while sandpapering, to take off some of the polish, but this can easily 
be refinished by hand. 



SANDPAPERING 

All turning must be completed before any sandpapering is 
attempted; otherwise the small particles of sand will work their 
way into the pores of the wood, and should it then be necessary 
to do any further turning, it will be found difiicult to keep an edge 
on the tool. 

For most work, numbers 1^,^,0 and 00 sandpaper, used in the 
order given, will be found to be sufficient. When the work has been 



DARNING BALL 



31 



^ 




tu 




J 




CQ 







^ 


(=^ 


^ 


U 


< 


e? 


fO 


X. 






cjy 


e: 

^ 


^ 




< 


1 


<^ 


a 


< 





a 



^ 




I ±. 



Plate II. 



32 



ART AND EDUCATION IN WOOD-TURNING 



turned, instead of scraped, No. K will be found to be coarse enough 
and very little sandpapering will be necessary. 

It is a mistake to use too fine a grade of paper at the start, 
as much time is lost in getting all the irregularities out of the 
wood. If No. ryi sandpaper is used properly the wood can be 
brought to an even surface, all small nicks worked smooth, but it 




Fig. 26. Sandpapering. 

will be left with large scratches of the coarse sand, which in turn 
should be removed by the No. >^ sandpaper, and so on with finer 
sandpaper until all scratches and imperfections have been entirely 
worn out of sight. 

Many a well turned job is entirely ruined by the careless use 
of sandpaper. All the character can be worn from the work by tak- 
ing the edges off corners, fillets, etc. It is just as necessary to shape 
a bead or cove with sandpaper as with your skew or gouge. On 
the other hand, it is quite possible to improve your poor turning 
by carefully sandpapering each part as a separate part, and not 
merely slurring over them. Fig. 26. 

In working for a good finish, the first essential is to get the sur- 
face of the wood as nearly perfect as possible, and this fact can be 
emphasized by trying the following experiment: 

Take a piece of maple and turn to a smooth form, sandpaper 
carefully, and then, instead of adding varnish or shellac in order to 
obtain a gloss, simply polish the piece of maple mentioned above by 
rubbing in the lathe with a smooth piece of soft wood, being care- 



SANDPAPERING 



33 



tul not to cause too much friction lest the wood become burnt. 
If this is worked carefully a high permanent gloss will result. 
This experiment will prove that good finishing is very much de- 
pendent on good sandpapering. 

Where possible, it is advisable to sandpaper on the top of the 
turned piece, as this gives the turner a better chance to watch the 
work. Fig. 27 illustrates a quick method for truing up a cylinder. 
A long straight strip of cork or wood is held under the paper; 
the operator can bear down with the one hand and up with the 
other, giving twice the cutting 
capacity, and at the same time 
causing no spring to the work. - 

When sandpapering the inside 
of a box (and this is doubly impor- 
tant for boxes with covers fitting on 
the inside), Plate XXII, great care 
must be taken not to allow the sand- 
paper to drag over the edge, thereby 
wearing away the entire neck of the 
box. 

Small fillets, V's, etc., are often left without any sandpapering, 
as it is next to impossible to work with paper on such small surfaces. 




Sandpapering with Both 
Hands. 



FINISHING 

Three steps are taken in order to put a finish on most work: 
e. g., (a) staining, (b) filhng and (c) varnishing. The first and 
second of these steps, that of staining and filling, are not always 
employed. Sometimes it is desired to keep the wood in its natural 
color, and in such cases the filler is the first to be applied. Then, 
again, close-grained woods, such as maple, need no filling of the 
pores; such woods are more often oiled, then polished. 

Staining work on the lathe is quite the same as for cabinet 
work. The wood must be carefully sandpapered and free from all 
grease. Apply the stain to the work with a brush held in the 
right hand, while the left hand gently revolves the lathe. Fig. 28. 



34 



ART AND EDUCATION IN WOOD-TURNING 



Do not allow the lathe to work at high speed; otherwise the stain 
will be driven in all directions by the centrifugal force, instead 

of soaking into the 
wood as desired. All 
stained work should 
be allowed to dry 
about 8 or lo hours; 
some stains require 
a longer time. When 
a water or spirit 
stain is used, it will 
be necessary to 
sandpaper the wood 
lightly after the 
stain is dry. If the 
wood requires fill- 
ing, fill with the 
proper colored filler; 
allow another day 
for drying; then pol- 
ish or varnish. 




Fig. 28. Applying Stain. 



By pohshing we mean French Polishing, Fig. 29; that is, using 
shellac as the polishing 
agent, and boiled linseed 
oil as a lubricating agent. 
The proportion of shel- 
lac to oil must be gov- 
erned by experience. It 
is customary for the pol- 
isher to have two recep- 
tacles, one for shellac, 
the other for oil. A dab 
of shellac is put on the 

polishing cloth, one Fig- ^o- French Polishing. 

thickness of the cloth is folded over, and a few drops of oil 
added. The cloth is then brought in contact with the work 




FINISHING 



35 



and as the lathe revolves, the cloth is run back and forth so as 
to cover all parts evenly. If too much shellac has been applied, 
the cloth will stick or pull rather hard. On the other hand, if too 
much oil has been added, the poKsh can be rubbed off entirely by 
passing a dry finger over the work while the lathe is stationary. In 







•TG BLOCK OVT INDIANCLU5- 






'' 






__ ^ -^ 






., 




1 i: 


r 1 -• -, 


,.■ 1 V .1 



















Fig. 30. 

either case more of one or the other must be added. Should the 
polish be too thick and look streaky, simply take the same cloth and 
by a little friction burn the shellac and cause it to flow again so that 
it can be run off the work entirely or put on in a more even manner. 

French poKshing is by far the quickest way of finishing, but does 
not wear well and on large surfaces is difficult to get on evenly. 
For the best finish, after having stained and filled the wood, apply 
two coats of thin shellac, allowing 12 hours for each to harden, and 
then lightly sandpaper each coat. For a finish that is to be rubbed 
to a high gloss, apply not fewer than three coats of a good hard 
rubbing varnish, allowing three days for each coat to dry, and one 
week for the last one. Sandpaper lightly each coat. The final 
coat is rubbed with fine pumice stone powder and water, washed 
off, and followed with rottenstone powder and water, washed off 
clean and rubbed with the palm of the hand. This produces 
the highest possible polish if carried out carefully. For an egg shell 
gloss rub only with pumice stone powder and crude oil. 

Varnishing must be done with the greatest of care, in a dustless 
room with a temperature of about 70 degrees Fahrenheit. In order 
to insure an even coat, it is advisable to flow the varnish on rather 
heavily, dabbing it into all corners; then immediately take up the 
superfluous varnish by brushing out thoroly and wiping the brush 
when heavy over the edge of the cup. Some varnishes require more 



36 



ART AND EDUCATION IN WOOD-TURNING 



brushing out than others in order to make them lay evenly; this 
can be learned only by experience. 



THE POTATO MASHER 

The stock for the potato masher is maple, 2^"x2^"xi2". 

In working out this problem as with others, start at the large 




Fig. 31. Built Up Model. 

end and work towards the small end. See Fig. 30 for method of 
locating the various diameters. 

No finish is ever to be put on wooden kitchen utensils other than 
to sandpaper them thoroly. 



POTATO MASHER 




Plate Til. 



38 



ART AND EDUCATION IN WOOD-TURNING 



INDIAN CLUBS 

The commercial wood for the Indian club, Plate IV, is maple. 
Oak works well, and so do most hard woods. For those who like 
something a little out of the ordinary, stock for a pair of clubs can 
l)c built up, using many combinations of woods. Fig. 31. 

The stock is sH'^^S^ "X19 ". 




(a) Rough to 31^'' in diameter, (b) cut to length, leaving a 
diameter of i '' at each end. Fig. 30 illustrates the method for locat- 
ing the various diameters at the correct points, (c) Rough out the 
shape with a gouge, then (d) fit to the templet with a scraper, Fig. 32. 
The templet rests on each end of i " diameter. Sandpaper and finish 
according to the wood used. (See Finishing, page t^t,.) 



DUMB-BELLS 

As with the Indian clubs, there is no special wood used for 
dumb-bells, Plate V, except that it is necessary to have a hardwood, 
such as maple, in order that it may stand rough usage. The stock 
is 3"x3"xio>^". 

Two methods may be employed with equal success in turning 
the balls at each end. The first method is similar to that of the 
Indian clubs, that is, by using a templet cut to a semicircle and 
resting it on a i '^ diamete--. -^ t either side of the ball. Shape to fit the 
templet. The second method is by geometry. Fig. t,;^. Turn to 
2^" in diameter and cut to the same length, making the section a 
perfect square. Lay off an octagon; and so on, increasing the num- 



INDIAN CLUB 




Plate IV. 



40 



ART AND EDUCATION IN WOOD-TURNING 



ber of sides up to 64 when a sphere has almost been turned. See 
Croquet Ball. 

After the balls have been shaped, turn the handle, sandpaper and 
polish. The ends are then cut to about r^" in diameter. Saw 
off all waste wood, trim up the ends with a sloyd knife, and finish 
the same as the Darning Ball. 




Fig- 2>2>- 



SCREWDRIVER HANDLES 

Almost any small scraps of hard wood work up well for the handle 
of a screwdriver, Plate VI. It will be found that many otherwise 
useless pieces of good wood can be utilized in this way. 

The small end is again to be at the dead center, (a) Turn to 
the design, and before sandpapering, (b) locate and cut the fluting, 
(c) To lay out the work for fluting, step the radius six times around 
the handle, and mark half the width of each fluting on both sides of 
these points. Set the surface gage (see Mallet), and scribe the 
necessary line. By this method it is possible to mark any shaped 
piece of wood, whether straight, tapering, or curved, so that the 
fluting will be absolutely true and not wind around the cyhnder. 

Use a short gouge and (d) cut the grooves as smooth as possible. 
Break off a small piece of a suitable size rat-tail file and (e) clean 
up all rough places; (f) follow this by using sandpaper wrapped 
around a piece of dowel rod. After cleaning up the fluting, (g) 
hghtly sandpaper the handle, (h) then fit the ferrule to the end, 
forcing it on rather tightly. Do not polish in the lathe. 

The end of the shank of the screwdriver that is to be forced 
into the handle should be square; therefore only an approximate 



DUMB-BELL 




Plate V. 



42 



ART AND EDUCATION IN WOOD-TURNING 



WOOD -TURNIN ^ PR OBLEMS 
SCREW DRIVER nANDLES 



i FIT 

FERRULE 




Plate VI. 



TURNING TOOL HANDLES 



43 




Plate Vn. 



44 ART AND EDUCATION IN WOOD-TURNING 

hole can be bored, after which it is best to heat the end and make the 
fitting in that way. To prevent the shank from working loose, it is 
best to drill thru the ferrule, wood and shank; then insert a pin. 




Boring a Mallet Head. 



For turning a large number of screwdriver handles see Fig. i6. 
The marker will indicate lengths and the calipering tool is used for 
obtaining the diameters. 

THE MALLET 

Lignum-vitas is the best wood for a mallet head, Plate VIII, 
but in public schools where only the cheaper grades of wood are 
supplied, it is necessary to fall back on good hard maple. 

The turning of a mallet is very simple; the only part needing 
great care and attention will be the boring of the hole in the 
head and then the fitting of the handle to that hole, Fig. 34. 

In order that the hole in the head may be at right angles to the 
axis, and true in every direction, it will be necessary to locate this 
hole with the greatest accuracy. 



THE MALLET 



45 



:c 




M 




—i 




cO 




r> 




<^ 




Oi 




ex 


h- 


^ 


fT 1 1 


< 


. .1 


2: 




^ 


S 



C^ 



[2^1, 



ffml 



.2.' 



-'ri 

"'1 







i(\i 



-IQO 









"I :^ 
i il 



J 



^ 



N|CO 

t\2 



Plate VIII. 



46 



ART AND EDUCATION IN WOOD-TURNING 



Fig. 35 illustrates one method for locating the hole in the head 
accurately. While the wood is in the lathe, and before sand- 




Fig. 35. The Surface Gage to Locate the Center for Boring. 



papering, mark the center line around the head. The next step will 
be to cross this line in two places, so that a line passing thru these 
two points will be at right angles to the axis. Set the surface gage 

on the shoe of the tee-rest, and the point 
of the gage so as to coincide with the 
point of either the live or dead center 
(removing the wood, of course, in order 
to set the gage). 

Place the wood back in the lathe, 
tightening on the hand-wheel of the 
tailstock so that the wood cannot turn. 
Hold the surface gage fiat on the shoe 
of the tee-rest, being careful not to move 
the adjustments on the gage; then mark the intersection. Place 
the gage on the opposite side of the head, not disturbing the posi- 
tion of the wood, and again mark the intersection. The two inter- 
secting points obtained are the centers for the holes to be bored. 




THE MALLET 47 

The second method, Fig. 36, illustrates a circle drawn on paper, 
equal to the diameter of the head of the mallet at the center line. 
Step the radius around the circumference six times, and any two 
opposite points, as connecting with a line passing thru the center of 
the circle, will be the points to use. Cut the paper from B to A and 
around the circle as indicated in Fig. 36, and place it over the head 
at the center line. Without moving the paper, mark the inter- 
section of the center line in two places, C and D, Fig. 36. 

After having carefully located the necessary points, make a 
deepgr impression with a pair of dividers; then sandpaper and 
finish. If a chuck is available for boring in the lathe, place the 
point of the dead center into one of these holes (mentioned above), 
and the drill into the other. Fasten the tailstock to the bed of the 
lathe, and while the left hand holds the mallet head, let the right 
hand turn the hand-wheel and force the wood against the drill, thus 
boring the hole. Care must be taken not to use high speed, and not 
to force the hand- wheel too hard, otherwise the drill will become very 
hot. A metal drill works better in the lathe than an auger bit. 
When the hole is almost thru, remove the dead center, butting the 
head of the mallet against the spindle where the drill can bore into 
it without ruining the dead center pin. 

By means of a V block and a drill press, it is also easy to bore 
the hole. 

GAVELS 

In designing a gavel. Plates IX and X, and in selecting wood 
for the same, there are a few requirements we have to meet. Since 
a gavel is used in somewhat the same manner as a mallet (in that 
we strike a blow with both) , the first essential will be to use a hard > 
wood. This stands the blow better, and hard woods being heavier, 
the blow is more easily delivered. The wood must be sonorous, so 
that sound is given forth. During periods of excitement, it is often 
necessary to use a gavel quickly, and little attention is paid to where 
the gavel strikes; hence the ends must be well rounded. To meet all 
these requirements, a wood such as rosewood, ebony, or coco- 
bolo serves very well. 



ART AND EDUCATION IN WOOD-TURNING 







-l<v? 










T-l:2 



,^.,2j^.; ..^ ,^ 



f£" 



Plate IX. 



.-/ 



GAVEL 



49 









^ 







?£■ 



Plate X. 



so 



ART AND EDUCATION IN WOOD-TURNING 



The stock for the head is 2y^"x2%"x4}^" . (a) Rough down to 
the largest diameter, (b) cut to length, (leaving the same amount of 
waste wood at each end), (c) locate the center line and (d) lay off 
the work from both sides of this line. It is advisable, at the point (c), 

to make a small hole with 
the dividers, so that when 
boring the hole for the han- 
dle, it will be in the exact 
center. 

When turning a cove, hav- 
ing a fillet at each side, it is 
advisable to ignore the cove 
entirely until the fillets are 
cut clean, then work out the 
cove. 

Before cutting the work 
loose, bore the hole for the 
handle. This should be done 
in the lathe, the work being, 
clamped tightly between cen- 
ters, Fig. 37. 

The handle should be 

turned with the small end at 

the dead center. All parts are 

finished before fitting the 

handle into the head, so that no oil from the polish will reach 

that part. On all work, where one part fits into another, always 

cut the hole first, then fit the other part to that hole. 

When all the ends have been cleaned off. Fig. 38, glue the handle 
into the head. Should the handle fit rather loosely, make a saw-kerf 
in the end, about ^4" down the handle, and force a wedge into this 
cut. This method is often used in joinery. 




Fig. 37. Boring a Gavel Head. 



THE ROLLING PIN 



SI 




Fig. 38. Sawing off the Ends. 



THE ROLLING PIN 

The rolling pin, Plate XI, like all wooden kitchen utensils, is 

made of maple, because maple does not sliver easily, is hard, and 

holds its shape fairly well. 
To make it somewhat 
easier to understand, the 
rolling pin will be divided 
into two parts; the shaft 
and the handle. 

The stock for the shaft is 
2^''x2^"xi2X". (a) Cut 
to 2}^" in diameter; (b) cut 
to length, leaving the waste 
wood at each end i" in 
diameter; (c) taper the ends, 
making a cut from Y^' back 

to the I " diameter. After the wood is thoroly sandpapered, (d) cut 

off the waste wood. At each end, the centers have left a small hole 

which locates the center for 

the holes to be bored. 
Great care must be 

taken to bore the holes at 

each end absolutely true, 

otherwise the handle will 

not work well when glued 

in place. 

In order to have the 

hole of the handle in the 

exact center, bore the hole 

first, and turn around the 

hole. To do this, turn a Fig. 39. 

piece of maple to fit the hole just bored, leaving about xY" of the 

waste wood i" in diameter at one end, Fig. 39. The \-^" part is to 

be 5^" long. The reason for this length will be explained later. 

Glue %" at each end, Fig. 39. When the glue has set, turn the 



'TO BLOCK OUT RGLLINQ PIN HANDLES- 



STEP N"l :5<5LUEP 



^^"I^i^lLlfe 



Ji_ 



STEP N''^ 



TaxES3i=c: 



U,i"-X 



■5t 



52 ART AND EDUCATION IN WOOD-TURNING 




riate XI. 



UMBRELLA HANDLES 




Plate XII. 



54 ART AND EDUCATION IN WOOD-TURNING 

handle, being careful not to turn the ends until everything is 
completed. Sandpaper carefully, and with an y^' chisel, cut the 45° 
at the one end; this makes that end free. Out of the remaining 
piece of maple, turn the spindle part of the handle, fitting the i>^" 
of the dead center end to a }4" hole. In order to make the curve of 
both handle and spindle continuous, place the handle over the spin- 
dle while turning the rounded end. 




Fig. 40. Household ArLicles. 

When gluing the spindle into the shaft, great care must be 
taken not to allow any glue to get into the hole of the handle, and 
not to force the handle up too tight against the shaft. 

BOWLS 

Bowls and solid trays, Plate XIII, come under the heading of 
face-plate work, and regardless of design, are all worked out in much 
the same manner. However to make the following description a 
little easier to follow, we will take one of the nut bowls as our ex- 
ample. 

The rough stock should be i^"x4^"x4^", dressed on one face. 
{d ) Cut out a 4^'' circle on the band-saw. If no band-saw is avail- 



NUT SETS 



wooD-vumim problems 

NUT sirs 



ss 




'-»^i 



. 1 , 



-15^ 



M. 




.-U 

'—1^ '^ 



"^ 



ill 



v^^^^^»o.^V^^^ 



T 



r 



4- 

|2 



r 



■-'^ 





-H 



-J-i- 




--i^ 




-J' 



--'+ 



Plate XTII. 



56 



ART AND EDUCATION IN WOOD-TURNING 



able, simply cut off the corners with a handsaw, (b) glue the dressed 
surface to a piece of whitewood of about the same diameter, with a 
piece of note paper between. The object of the paper is to separate 



N^l 



W f 

3" Qfe, 




N«1 



H^'Z 



^^ 



HD 



•TeWLtTlNUifcOH- 

1NS1X>E OF BOVJl_ 



Fig. 41. 

the fibers of the waste wood from the wood to be turned, so that a 
few light taps with a chisel and mallet will separate the two pieces 
when the work has been completed. 

After the glue has set (use nothing but the best grade of hot glue 
on all problems); (c) screw the faceplate in place, (d) Start the 
lathe on slow speed, with the tee-rest parallel with the face of the 
work and a little below the center line. By means of the y^" 
mortising chisel, held horiziontally and stand- 
ing on its edge, (e) cut in the direction indicated 
in No. I, Fig. 41. Do not cut the entire thick- 
ness, otherwise the wood on the opposite face 
will split off. Merely cut off enough wood to 
center the work, (f) Turn the tee-rest parallel 
with the edge, and with a gouge clean off the 
remaining wood. 

Having turned the wood to the largest 
possible diameter, (g) face off the surface with 
a i" flat scraper. No. 2, Fig. 41, working from the center out, and 
to a thickness of i}{" (measuring from the glued joint). 

(h) Trace on a scrap piece of paper, the inside outHne of one-half 
of the bowl, as indicated in Fig. 42. (i) Transfer this to a piece of 
cardboard and cut with a sharp knife. This pattern is known as a 
templet, by the aid of which it is possible to obtain the correct 
shape of the inside of the bowl. 




CEMTte. 



Fig. 42 



DRAWER KNOBS AND CASTER CUP 



57 



WGOD-TURNIN^ PROBLEMS 
DRAWER KN0)5S*- CASTER CUP 






li- 



5 




■ICO 



Z.U 




-:°o^ 



Plate XIV. 



J 



58 



ART AND EDUCATION IN WOOD-TURNING 




Plate XV. 



BATH ROOM STOOL 



59 



5ATM WOr^ 5T0GL 




Plate XVI. 



6o 



ART AND EDUCATION IN WOOD-TURNING 



With a yi" chisel, (j) cut a diameter of about i" and i^^^" deep 
(scant measurement): measure the depth as indicated, Fig. 43. 
(k) Hollow out the inside with a round-nose scraper to conform 

with the templet. (1) Now 
sandpaper thoroly. (m) Shape 
the outside with fiat, skew, 
and round-nosed scrapers, 
keeping a uniform thickness, 
Fig. 44. The thickness of the. 
outside must be calipered with 
the fingers. Having performed 
all necessary turning, (n) sand- 
paper the work thoroly and 
polish. (See Finishing, page 33.) 
To separate the bowl from the waste wood, place a i" flat 
scraper in the glued joint (with the bevel against the waste wood), 
and tap gently with a mallet. Clean off the bottom and glue on a 




Fig. 43. Measuring tlie Dept'i of a ikjwl. 




Fig. 44. 

piece of felt. Since glue will not adhere to oily surfaces, and there 
is a great possibility of grease working its way on the bottom from 
polishing and handling, it is better to use shellac. Put on one coat 
and allow it to dry. A second coat is then applied, using rather 
thick shellac, and when "tacky," put the felt in place. Trim off the 
edge of the felt with a sharp knife when the shellac is dry. 



THE NAPKIN RING 

Napkin rings, Plate XVII. To bring into use built-up work, and 
at the same time to make the napkin ring more ornamental, it is a 



NAPKIN RINGS 



6i 



-1^ 






TST£^. 



1 



-*«<^ 



M 



fQ 


CO 


CJ 


ilp 




< 

1 t 


e7 


C>i 


:^ 


2 


ry 


x: 


:::> 


Q: 


tr 


< 


o 


2: 


G 





^li 



-lAi 



|T 



■-lev} f^ 



1 



'N. 



i(-f. 






<Ni 



Plate XVII. 



62 



ART AND EDUCATION IN WOOD-TURNING 



good idea to glue up all stock for this problem, Fig. 31. The best 
woods to use are those which are hard and have a fairly close 
grain, such as rosewood, ebony, cocobolo. East India mahogany, 
etc. The utmost care must be taken in planing up the stock, to 




Fig- 45. 

get each piece absolutely parallel, and where a symmetrical design 
is used, pieces of the same size should be exactly the same in thick- 




Fig. 46. 

ness. Again, when starting to turn, the exact center must be lo- 
cated, otherwise the work will come out uneven. 

Fig. 45 illustrates the turning of a napkin ring on an arbor. 
(a) Bore a ^" hole all the way thru the blank, and at right angles 
with the stock, (b) Turn a separate piece of wood between centers 
and about 5" long, to fit this hole snugly, having a iiery shght taper 
at the live center end. (c) Force the blank over this arbor and turn 
the design, (d) Sandpaper and finish. This will leave entirely too 
much wood around the hole. To cut this to the desired thickness, 
(e) a chuck must be turned to fit the outside of the napkin ring very 



THE NAPKIN RING 



63 



tightly, and should set in about yi" , Fig. 46. (f) Cut one end, (g) 

sandpaper and polish; then (h) rechuck the other end and finish. 

When starting a napkin ring on a screw chuck, (a) bore a hole in 




Fig- 47- 

the wood a little smaller than the screw, so that when the chuck 
is screwed in place, the wood will not spht, Fig. 47. (b) Turn the 




Fig. 48. Face Plate — Bell Chuck — Screw Chuck. 

blank to the design, (c) clean out one end and rechuck the same as 
above. 

In some schools, napkin rings are turned on a bell chuck. Fig. 48. 
The wood is first turned between centers to a diameter so that one 
end can be driven into the chuck. Held by this tight fit, the 
design is turned and one end hollowed out (as with the screw 
chuck), sandpapered and poHshed. The wood, in this case, must 
be long enough so that after cutting off the napkin ring, about 
^/^" will remain for rechucking. It will be seen that in this case the 
rechucking is done from the inside, instead of the outside as with 
the other two methods. The greatest care must be taken to turn 
the chuck to fit the inside of the ring tight enough so that it will 



64 



ART AND EDUCATION IN WOOD-TURNING 




Plate XVIII. 



BREAD BOARD 



65 




Plate XIX. 



66 



ART AND EDUCATION IN WOOD-TURNING 




Plate XX. 



TRAY AND FRAME MOULDINGS 



67 



CO ^ 



2: 



2: 












>;: 



H 




iLl 
\- 
O 



H vo z: 



2 uJ ^ 




Plate XXI. 



68 



ART AND EDUCATION IN WOOD-TURNING 



•TO TweM A Box- 



take hold, and yet not be a hair's breadth too large, otherwise the 
napkin ring will be split apart when forced in place. This method is 
not recommended by the author, as too often a napkin ring is split; 
besides it taking about 50% more valuable wood, whereas in. the 

other cases, whitewopd or common 

pine is used for a chuck, and the 
same chuck, if made out of thick 
stock and fairly large in diameter, 
can be used many times for various 
problems. 

PICTURE FRAMES 

N°^\^^^s=^\c,\5;>. ^/ The method for turning a picture 

frame, Plate XXI, is quite the same 
as a napkin ring. In most cases, 
the screw-chuck method will be 
found to work satisfactorily, altho 
it is often advisable to glue the wood 
from which the frame is to be made 
to a piece of scrap wood, with paper 
between. Turn the front and side 
of the frame; when finished knock 
the wood apart with a few light taps of a chisel and mallet. The 
same scrap wood can then be used for rechucking. Big frames 
should be made of segments. (See Serving Tray, page 84 ) 







Ua2> 




M5lt)E: e>P B>c>S PiMKSHtD 



Fig. 49. 



BOXES 

There are two general types of boxes to consider : those having 
the cover fitting on the inside, Plate XXII, and those having the 
cover fitting on the outside, Plate XXIII. Most boxes are of the 
latter type. There is, however, little difference in the turning. 

All boxes should be turned standing on end grain, (a) Rough 
off the stock to approximately the largest diameter, (b) True up the 
end. (c) Now hollow out the inside of the cover. Fig. 49, No. 1, to 



BOXES 



69 



CO 

S 

-J 
CD 

^ CO 







lU 



^g 



-^ I — 



>■ 



^li 



^^- 



-?i 



n 

— IC 

U 



<- 



Plate XXII. 



70 ART AND EDUCATION IN WOOD-TURNING 

fit a templet, and (d) turn as much of the cover as can conveniently 
be handled; (e) sandpaper and polish. If the cover fits from the 
outside, (f) cut the collar of the box to fit the cover snugly, (g) 
Rechuck the cover on this collar and (h) finish the top. When this 
has been done (i) remove the cover and (j) hollow out the inside of 
the box to fit a templet (See Bowls), (k) Now sandpaper thoroly. 
(I) Turn the outside of the box to conform with the inside, easing 
upon the collar slightly, (m) sandpaper and finish, (n) Cut the waste 
wood at the bottom to about ^" in diameter, and slightly concave. 
The bottom is now ready to be cleaned with a knife and finished off 
with felt (See Bowls). 

When the cover fits from the inside, great care must be taken 
when sandpapering the 'inside, not to drag the paper over the top, 
otherwise the cover will not fit. 

It must be remembered in getting out stock for boxes, to allow 
at least Yj^' between the cover and box proper in order that there 
will be room for cutting off. 

COMBINATION TURNING 

CANDLESTICKS 

Candlesticks, electroliers and all problems requiring both 
spindle and face-plate turning, come under this heading. 

Our first example will be a candlestick. Plates XXIV, XXV, and 
XXVI, made of some hard wood, such as mahogany, walnut, oak, 
ebony, cocobolo, cherry, birds-eye, curly or plain maple, etc. 

The Base — (a) Cut a piece of stock of sufficient thickness to 
allow }i" for facing upon both sides, and }i" larger in diameter 
than the design, (b) Screw this stock on a face-plate, using short 
screws and keeping them near the outside edge, so that no hole 
will remain when the work has been completed. 

We are now ready to start on slow speed, and (c) cut in from 
the face along the edge to the required diameter, (d) Clean up the 
face until true, and (e) cut the opening which is to hold the lead. 
Note that the under side of the base is turned first, (f) Shape the 
edge up to the last fillet (where there is a fillet), (g) sandpaper and 
finish. (See Finishing, page :^2)-) 



GIRL'S DRESSER SET 



71 



WGOD-TVRNIN^ PROBLEMS 



r 



^^ 



'Hi— 



W^ 



72.: 



7 
J 



mioo 
to 




TALCU/A POWDER box 



PUFF DOX 




MAIR RtCElVER 



DUTTGN box 



Plate XXIII. 



72 



ART AND EDUCATION IN WOOD-TURNING 



Now (h) remove the wood from the face-plate, and rechuck. In 
turning the design shown in Plate XXIV, (i) cut the chuck Y^" 
deep, the height of the edge, and true up the face to the required 
thickness, (k) boring the hole in the top. Fig. 50, with a >^" Forstner 




Fig. 50. Boring Face-plate Work. 

bit. Since a Forstner bit has no spur to center it when boring, it is 
advisable to cut in a short distance with an Y^!' chisel to make sure 
of hitting the center. (See Lathe Boring, page 78.) (1) Shape the re- 
maining part of the case, (m) sandpaper and finish. When polishing 
the base, great care must be taken not to allow any oil to work its 
way into the hole on top, otherwise the glue will not adhere. On 
account of danger of splitting the base, bore the hole first. 

The Shaft— {di) Cut the rough stock Y" longer and Y" larger 
in section than the design. To make sure of having the hole in 
the center (on the top of the shaft), (b) bore a Y" hole first and 
turn around the hole. Bore lY" deep to allow Y^" for cleaning up 
the end, and (c) turn a plug between centers keeping the Hve center 



CANDLESTICK 



73 



WOGD-TURNINQ PROBLEM 
CANDLESTlCli. 




en 



]_^ 



Plate XXIV. 



74 

r 



ART AND EDUCATION IN WOOD-TURNING 



WOOD -TURNING PRGBim 
CANDLESTICH • 




\ I i 



00 



-IN 



-1^ 



— S "-'<o • 



Plate XXV. 



EI,ECTROLIER OR CANDLESTICK 



75 



ELECT ROUER - CANDLESTICK 



NOTZ 
TM15 DE5IQN 15 IN 
TEMDED FOR A ONE 
LlQhT LLECTROLIER J\^ 
GRLARQE CANDLESTICK 



-JCNJ 




Plate XXVI. 



76 



ART AND EDUCATION IN WOOD-TURNING 



impressions for future turning, (d) Now glue this plug in place as 
indicated, Fig. 51, and when the glue has set, (e) the shaft can be 
turned, (f) After all polishing has been completed, (g) fit the dowel 
into the base. 

(a) Place the two parts of the candlestick together, and turn 
the bottom side up. Having done this, (b) pour enough molten lead 

into the base to just come flush, 
and (c) cool immediately from 
the under side with a blower. 
If a high polish has been put 
on the base, it will be advisable 
to drop a small quantity of 
mercury into the lead — this alloy 
will melt at a lower temperature 
and therefore will not blister the 
polish. 

When the lead has cooled off, (d) glue the base and shaft 
together, (e) finishing the bottom with felt. (See Bowls, page 54.) 



•TO TURN CANDLESTICK- 
I I 



^j.qu;ed 



I 

^ 



SEPARATE PLUQ 



Fig- SI- 



LAMP STANDARD 

Where it is desirable to have the wiring of the lamp standard 
start at the base and go thru the shaft, it becomes necessary to work 
out a hole about yi" in diameter the entire length of the shaft, 
joining the base at a suitable place. If good facilities are at hand for 
lathe boring, this will be one way of handling the problem. Bore the 
hole thru the rough stock, and plug both ends for turning. Where, 
however, the electrolier is too long, as in the case with a floor lamp, 
or where no available chuck is at hand for lathe boring, it will be 
found that the shaft will have to be grooved out of two pieces, half 
on each piece, glued together, plugged and turned. 

The working out of the remaining part of the problem is much 
the same as that of a candlestick. 



LAMP STANDARD 



77 



WOOD-TURNING PRGDLm 
LAMP STANDARD 



QAS 



NOll 
DIMENSIONS <J1VE/N ON 
OJT A1?E FOR TWO 
LIQHT ELECTROLIER - 
FOR ONE LlQni 5U55T1 
TUTE TME FOLLOW 1/M<5 
/AEA5UREMENT5. 



ELECTRIC 



'-f 3Z 

3' 



4 '2- '4 '6 

■■=21" -"=5 
S' 5 ■• I 




MAhETOPTO FIT 
50ChET-5AME A5 
CANPLE5TlCh. 



Plate XXYLI. 



78 



ART AND EDUCATION IN WOOD-TURNING 



•TO LAY OiyT5E^MENT5- 




^:v=;^"^^ 




Fie 



52. 



LATHE BORING 

For accuracy, speed and ease, there is no better way of boring a 

hole in wood, where the equipment is hmited, than by using the lathe. 

To bore a mallet head, (a) start the hole at the bench so as to 

center the drill; the point of the dead center takes care of the other 

end. Having located the correct 
distance the tailstock should be 
from the drill, to allow for the size 
of the wood, (b) fasten the tailstock 
firmly, but leave the spindle free. 
Working at a medium speed, (c) 
force the wood against the drill by 
turning on the hand-wheel. When 
the hole is almost thru, (d) re- 
- move the dead center and (e) butt 
the spindle against the wood to allow the drill to go all the way 
thru without injury to the center. This method may be used on end 
grain boring, with such problems as the rolling pin handle and 
electroher. Where a hole is to be bored longer than the length of the 
drill, reverse the ends and bore half way from each end. It will be 
found difficult to clean long holes of the shavings, and therefore it is 
not advisable to force the work too much; besides, the drill will be- 
come very hot, and must be cooled frequently by dipping in water. 
For face-plate boring, where there is danger of splitting the 
wood, it is advisable to use a Forstner bit, as the screw on an auger 
bit is very apt to force the wood apart, and there is a great tendency 
for the bit to be pulled into the wood too rapidly. In order to center 
a Forstner bit, turn in a short distance with a chisel. Fig. 50 shows 
a center bit in use which works equally as well as the Forstner bit. 



SEGMENT WORK 

In order to turn large diameters so that there shall be practically 
no warping or changing of shape, and at the same time no sacrifice 
of strength, it will be necessary to use segments. 



FLOWER HOLDER 



79 



WGOD-TURNIW^ PCGBLEM 
FLOWED rtOLDER 



TfcST TUBE: 




J 



Plate XXVIII. 



8o 



ART AND EDUCATION IN WOOD-TURNING 



From Fig. 52 it will be noticed that the segments run with the 
grain of the wood, this, of course, being of the greatest importance, 
as otherwise no strength would be gained. 

The theory of segment work is similar to that of a butt joint 
with a cleat fastened on each side. This form of joint is used every 

day in carpentry work. By 
''breaking the joints," as it 
is called, we have all parts 
of equal strength, and when 
thoroly glued together, the 
work is stronger than a 
solid piece. As will be 
shown, an odd number of 
courses always proves most 
efficient. 

There can be no set 
rule governing the correct 
number of segments for 
each course; small circles 
are usually made of three 
segments, whereas for 
about a 12" diameter, six 
segments will be necessary, 
and so on, always remem- 
bering that to avoid end 
grain, the segments will 
need to be smaller. For the problems given in this book, six seg- 
ments will suffice. 

In starting segment work, it will first be necessary (a) to true 
up a piece of good white pine to the desired diameter, (b) Onto 
this pine the segments are glued and held in place until all turning 
and finishing have been completed. For six segments, (c) step the 
radius around the circumference six times and join these points 
with lines to the center. The lines just drawn will indicate the 
joints for the first, third and fifth courses, and so on according to 
the number of courses, (d) Divide each space in half, and again 




Segment Work Being Glued. 



SMOKING STAND 



8r 



WOOD-TVgNIjNta PC05LEM 

SAOKl^Q 5TAHD 



Top to Standard 1-- 




Plate XXIX. 



82 



ART AND EDUCATION IN WOOD-TURNING 



MA12hlN(5'^"^6^5EGMENT 




MAR.^S A LINE. UtRE: 



54- 



draw lines to the center to indicate the joints for the second, fourth 
and sixth courses, etc. 

Fig. 53 illustrates a good method for holding the work while 
gluing the segments in place. A piece of about 2" square stock is 
turned at one end to fit the thread part of the face-plate, leaving 

the square part for clamping in the vise. 
The greatest of care must be exercised 
to clamp the segments flat, making a 
tight joint all around. To do this, the 
shoulder spindle of the handscrew is 
tightened first, throwing the jaws slightly 
out of parallel, when a last turn or two 
on the end spindle will bring them to 
their correct position. 

(a) The joints of segment No. i 
(segment No. i is the first segment to 
be put in place) are cut to correspond 
with the lines drawn on the pine 
stock and glued in place, cleaning away all glue from the end 
grain, (b) Fit segment No. 2 to make a tight joint with No. i, 
at one end, and to correspond with the line on the other end. 
(c) Now size one end of No. i and No. 2 with 
the glue. After allowing the sizing to set for a 
few minutes, (d) glue No. 2 in place, forcing 
the joints together until absolutely tight, (e) 
Clean away the glue again on the other end of 
No. 2, and so on until the last segment is fitted. 
Fig. 54 illustrates the quickest and best method 
for getting a tight fit on No. 6 at both ends. 
After the necessary marks have been made, 
trim to the outside of the Hues; if this is properly done, a tight 
joint will result. 

Allow not less than three hours for the glue to set before at- 
tempting to turn the work. Working on slow speed, (a) face up the 
first course of segments to the desired thickness and (b) clean up the 
outside and inside diameters just a httle. (c) Now mark out the 




Fig- 55- 



COLLAR AND BUTTON BOX 



83 






^ o 



?c 




Plate XXX. 



84 ART AND EDUCATION IN WOOD-TURNING 

second course and continue as with the first. When all the courses 
have been glued in place, (d) do all necessary turning and finishing. 



SERVING TRAY 

Since a serving tray, Plate XXI, is nothing more than a large 
picture frarne with two rebates on the back. Fig. 55, it will be neces- 
sary to rechuck the work. On account of the large diameter, and to 
avoid scratching the polish, it will be advisable to rechuck from the 
inside. 

The first rebate will hold the glass and designed material for 
the bottom of the tray. (The latter is stretched over cardboard.) 
The second rebate is for the wooden bottom which is screwed in 
place, flush with the bottom of the molding. The handles are fitted 
to come flush and are firmly fastened from the under side of the 
mold. The entire bottom is covered with felt, previously stretched 
over cardboard, with the edges glued on the reverse side. Tack this 
felt covered cardboard to the tray mold with 2 oz. gimp tacks. 
Four small rubber bumpers are screwed in place, which completes 
the work. 

By putting the tray together in this manner, should the glass 
break, it is a simple matter to take the necessary screws out and 
lift a few tacks without destroying any part of the tray. 

COLLAR BOX 

(a) Glue three pieces of stock together, Plate XXX, each a 
little over ys" in thickness, with the grain of the center piece running 
at right angles to the other two. When the glue has set, (b) cut out 
a circle approximately 7^" in diameter, which in turn (c) is glued to 
a pine core for turning. (d) Lay out for the segments and (e) build 
up to the top of the box proper. The segments should be about ^" 
wide to start with, to allow for turning. 

The cover is built up in like manner and turned first on the in- 
side, then rechucked. (See Boxes, page 68.) If a course of inlay is to 
be worked into the problem, it will first be necessary to glue up the 



CHEESE AND CRACKER DISH 



^■r, 




Plate XXXT. 



86 ART AND EDUCATION IN WOOD-TURNING 

veneer for the inlay of suitable width and length so that when dry 
the six segments can be cut from same. These segments are handled 
in exactly the same manner as the others. 

BUTTON BOX 

The button box in the center, Plate XXX, is turned separately 
on a screw chuck, leaving }^" dowel on the bottom for gluing in 
place. 

After all work has been completed, the felt is glued on the 
bottom, as in the case of the nut bowls. 

As collar boxes are subjected to a great deal of wear, it is 
advisable to finish the work with three coats of good varnish and 
rub to an egg shell gloss on the lathe. 

CHEESE AND CRACKER DISH 

The working out of this problem, Plate XXXI, is merely a 
repetition of the foregoing problems. The stand is turned like the 
base of a candlestick, the top cup the same as the button box of the 
above problem, and the dish is the same as the collar box, except 
that it is rechucked to clean up the bottom side. To make the dish 
more beautiful, it is a good idea to build up the bottom of segments,- 
all coming to a point, instead of building it of three pieces of wood 
as explained above. 

SEWING SET 

Like some of the other problems, the sewing set or stand, Plate 
XXXII, is simply a combination of several preceding problems. 
The base is turned in the same manner as that of the candlesticks; 
that is, the flat disk being turned from both sides. The pin cushion 
holder is nothing more than a bowl with a hole in the center, which 
in turning fits snugly around the spool spindle. 

In gluing this problem together, be sure not to glue the flat 
disk, as it would then be impossible to revolve it. The brass dowels 
are }i" in diameter and set in place with Major's cement. The pin- 
cushion is made with a hole thru the center. 



SEWING SET 



87 



r 




Plate XXXII. 



88 ART AND EDUCATION IN WOOD-TURNING 

NUT SET 

A nut set may include six small bowls of any one of the designs 
in Plate XIII and one large bowl of the same design as indicated in 
Plate XXXIII. 

The large bowl differs from the small ones only in that it has a 
block left in the center to hold the upright and the nut picks. 

As with the candlesticks, it is advisable to bore the hole in 
the base first, and then fit the shaft to that hole. 

Because of the cross-lap joint on the spindle work, it will be 
necessary, on the upright piece, to turn to J/k'^ diameter at the joint, 
step around the cyhnder to make four equal sides, and pare off the 
wood with a sharp chisel^ thus producing the joint part which is ^" 
square. On the cross piece it is possible to start with square stock 
^i" , and turn on each side of the center. When all sandpapering 
and turning have been completed, lay out the cross-lap joint, cut to 
fit snugly, and glue together. The ends will have to be rounded up 
by hand and the entire problem finished at one time when the work 
has been assembled. 

Some people prefer to crack the nuts with a hammer made espe- 
cially for that purpose; in that case, the upright portion is omitted, 
the block covered with heavy metal, and a small hammer turned 
with a metal head to be used in place of the nut-cracker. 

When nut-crackers are used, it is more in keeping to turn down 
the metal handles to about %" in diameter and turn wooden 
handles to be fitted over them. 



CLOCK CASING 

When time peraiits, and a fine job is wanted, the clock casing, 
Plate XXXIV, is included under the heading of segment work. It is 
handled in the same manner as the serving trays, except that, being 
of smaller diameter, four segments are used instead of six. 

After building up the segments to the proper height, turn the 
cylinder to 3/^" in diameter, hollow out the inside, sandpaper and 
finish. (See Finishing, page 33.) Now rechuck and turn the mold 



NUT BOWL 



WGOD-TUBNINQ PIJOBLEM 
MUTDOWL 




Plate XXXIII. 



9° 



ART AND EDUCATION IN WOOD-TURNING 






iLJ 

> 

u-l 
O 

in 



1 

> 






( ^|^t=jj.j.4.ij jrrr" 






! ..'s> ! 



^^ 



~» 






(£3 



t<)i^ 




Plate XXXIV. 



TEA WAGON WHEEL 



91 



W0GD-TVeMN(3 PROBLEM 
TEA WAQON WHEEL 



-FoT5. "R.U'BfbE.ie.ineE. 



--*>2 




i 



L=L 



H*" "«)l^ 



^:? 





te 



— MOQ 



FVLL 51ZE SECTION TMTSCOUQM HU'B- 
W\.DE OOP TW(S PIECES 



V 



Plate XXXV. 



92 



ART AND EDUCATION IN WOOD-TURNING 



on the front. The cover is turned on the face and rechucked, after 
which the knob and two legs are turned between centers. 

The cover is hung with a small brass hinge, and the knob glued 
in place. Bore the hole for the knob with a Forstner bit, and bore 
the holes for the legs with an auger bit. 

Where the problem is turned from a sohd piece of wood, the 




Fig. 56. The Croquet Set. 

grain should run with the length; in other words, the face will 
show end grain. 

On account of shrinkage, it will be necessary to make the inside 
diameter a little large, so that when the wood contracts, it will 
not bind around the clock and hold it fast. There is also danger 
of checking, should the wood shrink considerably. 



THE TEA WAGON WHEEL 

The tea wagon wheel presents no new problem from those hav- 
ing to do with segment and spindle work except in the making of the 
hub. From Plate XXXV it will be seen that the hub is turned in 



CP.OOUET SET 



93 




Plate XXXVI. 



94 



ART AND EDUCATION IN WOOD-TURNING 



two pieces. This is done for the reason that the spokes can be set 
in the rim, the lower portion of the hub set in place and the upper 
part fitted over that to make a complete wheel. 

After the rim has been built up of segments and turned, holes 
are bored on the inside for the spokes; the hub is now clamped to- 
gether in a vise, and holes to receive spokes bored in it. After this 




57. Back Rest Used on a Bed Post. 



has been done it is taken apart and the entire mass glued together. 
Great care, however, must be taken in gluing this problem to block 
up the spokes and rim from the under side to come level with the 
hub so that the spokes can be brought in line. 



CROQUET SET 

For a group problem, nothing works out so well and has more real 
educational value than the croquet set. Plate XXXVI and Fig. 56. 

The Mallet — ^As with other problems worked in school, the price 
of material governs the kind to be used. For this reason hard maple 
will be chosen, altho boxwood, Kgnum vitae and rosewood are 
better for the head. Ash or hickory is satisfactory for the handle. 



CROQUET SET 



95 



The principles involved in turning a croquet mallet are almost 
identical with those of a manual training mallet, Plate VIII, the only 




Fig. 58. Turning vrith One Hand and Supporting the Work witli the Other. 



difference being found in turning so long a handle. Fig. 57 illus- 
trates a back rest in use. To work this out successfully, first 
rough off in the center, enough wood so that the support of the 
back rest can be brought 
in close contact with the 
handle. The diameter at 
this place should be as large 
as possible and the support 
can either be a semi-circle to 
correspond in diameter, or a 
block with a cut of 90°, the 
sides in the latter case act- 
ing as tangents to the cyl- 
inder. Now fasten all ad- 
justments on the back rest 
firmly and grease the handle at the point of contact with a little 
tallow. Turn on both sides of this rest, starting at the headstock and 
working to the dead center. After doing this, remove the back 
rest and clean up the remaining wood. All such turning must be 




fiS-59- 



The Sand Wheel Used to True Up the 
End of a Mallet Head. 



96 



ART AND EDUCATION IN WOOD-TURNING 



done at slow speed. Fig. 58 shows a method of supporting the work 
with one hand while turning with the other. 

Fig. 27 illustrates a quick and safe method for sandpapering 
long and weak spindle work. With sandpaper on each block, it is 
possible to work with great pressure, one hand supporting the strain 
on the other. The blocks should be of sufficient length to joint the 



•TO DLCXh GUT CROQUET CALL- 



.__.^ 



-'.^7^ 



J 



\X 



\ 




Fig. 60. 

wood, working all small hollows and irregularities out of the 
cyhnder. Fig. 59 shows how a sand wheel may be used to advantage 
in truing up the ends of a mallet head. 

The Ball — It will be noticed in Fig. 60 that we first turn a cyhn- 
der of ^}4" in diameter; then locate the center, and measure i^" 
on each side of this line (a cross section thru the axis forms a perfect 
square; we intend, as it were, to inscribe an imaginary circle in this 
square). Our next step will be to cut so as to make the square 
section octagonal. Having reached this point we now cut so as to 
make the section a 16-sided figure; and so on until we attain 64 
sides, when we- have almost a round surface. Trim off the corne -s 



CROQUET SET 



97 



and sandpaper thoroly. It will be observed that we do not cut the 
waste wood at either end below yi" , leaving the final cutting to be 
done with a knife and cleaned up with a file and sandpaper. If 




Fig. 61. Illustrating Correlation in Advanced Work. — Note the Turned Legs on the 
Martha Washington Sewing Cabinet and Drawer Knobs and Bed Problem. 

properly finished by hand no rechucking will be necessary. On 
account of wood shrinking in one direction only, it will be advisable 
to cut the end grain of the ball about ^" less in diameter than the 
width; when the wood has dried out thoroly, the ball will be as 
round as it is possible to turn one. 



98 ART AND EDUCATION IN WOOD-TURNING 

It will, therefore, be seen that we turn a ball by increasing 
the number of sides of a polyhedron. By diminishing each side in 
size, we approach a sphere for a limit. To succeed in getting a good 
round ball, it must therefore be remembered that the greatest care 
be taken to mark off the work accurately, and cut to the Hne. Each 
flat surface cut is a tangent to the imaginary sphere. 

Before cleaning off the center line, cut a line j4," on each side 
of it with the toe of the skew. This band is made for a guide in 
painting the color on the ball. 

The Stake — No instructions need be given on this part of the 
problem as it is simple spindle work. The lines are cut, as with the 
ball, to locate the bands of colors. 

When all turning is completed, and the mallet glued together, 
cover all parts thoroly with linseed oil. Allow one day for drying, 
and give it two coats of white shellac. Lightly sandpaper each 
coat, and finish with two coats of spar varnish. 

LONG-PIECE TURNING 

THE FOUR-POST BED 

The stock for the posts, Plate XXXVII, should be mahogany, 
joined true to 2^4," x 2j4," , so as to work out the square part, and 
also to make it easier to turn. 

Great care must be exercised in centering the ends so as to show 
no uneven margin around the square part, when the post has been 
turned. 

Start to round up the stock in that part of the post where the 
foot spindle is to join, Fig. 6i ; work the back rest in place and turn 
each half separately, Fig. 57. When all turning and sandpapering 
on these two parts is complete, remove the back rest and finish the 
remaining part. Fig. 58. 

The turning of the foot spindle is identical with that of the 
posts. 



FOUR POST BED 



99 



r 



A 



WOOD-TW&NINQ PROBLEMS 
rOVR POST BED 








•The. Post- 



Plate xxx\ai. 



loo ART AND EDUCATION IN WOOD-TURNING 



WOOD-TVBMNQ PWmJ\ 



FLOGBLAMP 



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12 IHCHE.^ 






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Plate XXXMII. 



FLOOR LAMP 



WaoD-TUBNl/^g P5.05LEM 
FLOORLAMP 



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Plate XXXIX. 



I02 ART AND EDUCATION IN WOOD-TURNING 

THE FLOOR LAMP 

Where the floor lamp, Plates XXXVIII and XXXIX, is to be 

finished with stain, varnish, etc., mahogany, walnut or oak stock 
should be used. When a gold finish is desired, clear white pine 
serves very well. 

The stock should be made up of two pieces, with a groove in 
each half to make a hole for the wiring. Before gluing this stock to- 
gether, it is a good idea to run a few drops of oil in the groove so that 
the glue can readily be driven out when the lamp has been com- 
pleted. This groove must be plugged while turning. 

When the shaft is to be fluted, lay out for the correct number 
of flutes, marking each flute with the surface gage; see mallet 
head. Fig. 35. Rough out the grooves with a suitable gouge, smooth 
up even with a wooden round plane, run a rat-tail file up and down 
a few times to clean the rough places, and then finish with a piece 
of sandpaper wrapped around a dowel of proper diameter. 

No new problem is presented by the base, and therefore no 
further mention will be made as to the method of procedure. 

WOODS USED IN TURNING 

It is possible to turn any wood on the lathe, provided the wood 
is firm enough to hold together. All sorts of odds and ends, other- 
wise useless on account of knots and gnarly places, are pleasing when 
turned. Plates XIV and XVII. 

For the classroom, maple will probably be used for most turning 
as it adapts itself well for thin turning, is hard, takes a polish 
easily, can be stained in many beautiful ways, holds its shape fairly 
well and is reasonable in price. Oak is also a good wood, but on 
account of the porous grain, does not lend itself so well to all prob- 
lems. 

Where price of material is a secondary consideration, the fol- 
lowing list of woods will be found to be all that is necessary to 
turn any problem, making it both serviceable and beautiful. 

Maple — plain, curly and birds-eye. 

Walnut — white, black, French and Circassian. 



DON'TS 103 

Oak — quarter-sawed white and red. 
Cherry. 

Sycamore — quarter-sawed. 

"Mahogany — bay wood, Mexican, East Indian and African. 
Ebony — gray, black. 
Cocobolo — Panama, Nicaragua. 
Rosewood — African. 
Snakewood. 
Lignum- vitas. 
Myrtlewood. 
Boxwood. 
Holly. 
Satinwood. 



DON'TS 

A few Don'ts are well worth remembering to help in avoiding 
both mistakes and accidents : 

Don't start your lathe unless all adjustments are fastened; 
otherwise the work may be thrown out. 

Don't leave the lathe running when no one is working at it. 

Don't start any work on high speed; rough the corners on slow 
speed first. 

Don't turn long, thin spindle work on high speed; it will spring 
too much. 

Don't stop your spindle work or feel of its smoothness by hold- 
ing your fingers near the tee-rest, as the motion of the wood is 
liable to draw your fingers or hand between the rest and the wood, 
causing injury. 

Don't work your lathe on high speed while rechucking; there is 
danger of the work being thrown out of the chuck. 

Don't stop your lathe without also stopping your work; other- 
wise when the lathe has come to a standstill, there is danger of the 
work winding its way off. This applies to face-plate work. 

Don't apply stain, filler, etc., while the lathe is in motion; the 
centrifugal force will drive the moisture out of the wood instead of 
allowing it to penetrate. 

Don't use cotton waste for poHshing, or applying stain to your 
work, as the short threads may catch on to the fibers and draw the 
waste out of your hands, often causing injury. 



I04 ART AND EDUCATION IN WOOD-TURNING 

Don't remove your wood from the lathe without first marking 
the center and the end of the wood so that both may be returned to 
the same place at a future time. 

Don't cut your work free before being sure that all turning and 
finishing has been completed. 

And finally, don't go ahead on any work if you are not sure what 
to do, or how to do it. 



SHOP DISCIPLINE 

With the exception of the machine shop, there is probably no 
shop in school where the discipline should be more carefully watched 
than in wood-turning. In the first place it is always more or less 
dangerous to work around machinery, and where we believe in 
Safety First, each student should be compelled to remain at his 
own lathe unless otherwise engaged. Permitting a reasonable amount 
of talking about the work in question is a good idea as one student 
gains knowledge from another, and it often saves the less apt student 
from accidents and mistakes by having suggestions made at the 
right time. 

Secondly, if students are permitted to move about the room 
without a good reason, there is danger of one boy pushing another 
and ruining an otherwise good piece of work. When the order is 
given to shut off the lathes, it must be obeyed at once, and it is 
advisable to do this, should anything go wrong with the work or the 
machines. The work is not to be removed from the lathe more often 
than necessary, the instructor going to the lathe to inspect it rather 
than the student bringing the work to him. 

Ample time is to be given at the end of each period for cleaning 
the lathes and putting all tools in their correct places. It is not 
enough to brush off the machines with a counter brush, but it is 
advisable to remove the grease, stains, dirt, etc., from all corners, 
and at the same time keep the lathes shining as they should. Kero- 
sene and waste will be found to be the quickest and best method of 
accomplishing this. A metal receptacle is hung at each machine to 
contain the waste. 



SHOP DISCIPLINE 



loS 



All tools should be numbered to correspond with a similar num- 
ber on the lathe, and it is important that each boy put the correct 
tools at his lathe, thus making it easy to check up on missing or 

broken tools. 

Each week one student is to be 
appointed, for a given length of time, 
to straighten out the general tool 
cabinet in the rear of the room. Fig. 
I. This boy should see that all stain 
cans are closed, everything put in 
order, and the sandpaper box kept 
filled. A mark is to be given for this 
tool work and at least five minutes ex- 
tra time for attending to everything. 
In the bench each boy has a 
locker to contain all unfinished work, 
also his jumper. Pieces of unfinished 
work too large for this are kept in a 
special locker, one of which is put 
aside for each class. 

Ratings — Fig. 62 illustrates a rack 
for the indi\ddual cards of the stu- 
dents, arranged in alphabetical order. 
As indicated by Fig. 63 each card 
will contain all the necessary infor- 
mation needed about each boy. His 
name (the last name being written 
first), his home, room number, and a 
space for each problem. When a boy starts a job, he puts down the 
name of the problem and the date of starting. At the time his 
work has been passed upon and a rating given, he puts down the 
date of completion. In this way each boy knows where he stands 
and the instructor is better able to judge in the future how long 
it requires for the average student to do a certain problem. If at 
any time there is a question about a piece of work, the number 
on the card will indicate at what locker it may be found. 




Fig. 62. Card Rack. 



io6 



ART AND EDUCATION IN WOOD-TURNING 



At the end of every month, a line is drawn under the last 
figure, indicating where the next month starts. The final rating of 
each month is kept in a separate book for this purpose. 

As a part of the training and at the same time to keep up the 
condition of the tools, each boy is assigned, at the end of the term, 

the task of grinding and sharp- 
ening certain tools, for which 
work he is rated. 



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Fig. 63. 



THE EXHIBIT 

There is great satisfaction 
to both student and instructor, 
after having worked along a cer- 
tain course for several months, 
to be able to actually see what 
has been accomplished and to 
compare the work of one student with that of another. 

In addition to this the exhibit gives the student a goal to work 
for, and in the prospective student it stirs up enthusiasm and a 
desire to do the best possible work. 

The manner in which the models are displayed is almost as im- 
portant as the quality of the work. Too often the mistake is made 
of trying to exhibit a mass of work rather 
than a few choice models. When the show 
case is crowded, the visitor's mind is un- 
able to concentrate on any one object, hence 
there is no lasting impression made. It is 
well to bear in mind how frequently we find, 
in the better shops, simply one or two care- ^°' ^' 

fully selected articles displayed. By isolating an object, we have 
full power to judge of its merits, with nothing to add to, or detract 
from its qualities. When objects are grouped together, it is always 
advisable to mass them according to color so as to have harmony. 
Again, such models as household articles would not look well with 
polished models. 




THE EXHIBIT 



107 




Fig. 64. Small Group Arranged for Exhibition. 



io8 ART AND EDUCATION IN WOOD-TURNING 

Unless an attendant is always on guard, to see that no object is 
stolen or handled, it will be essential to have all work in a show case, 
and for wood-turning, a vertical case with a gray or any neutral 
colored back, glass shelves and glass on the front and two sides, will 
be found most satisfactory. Where, however, the work is displayed 
on tables, it will add very much to the exhibit to first cover the 
tables with burlap and use small boxes covered with like material 
to help in the grouping of the work and to relieve the flat appearance, 
see frontispiece. When the space perrhits, it will be found helpful to 
string a rope a little way in front of the tables to keep the visit- 
ors the proper distance from the models. 

Neatly lettered cards, similar to those shown on the illustra- 
tions, will help in answering many questions, besides adding to the 
general appearance. The old English text script is most pleasing, 
the first letter of each word being capitalized in red ink. By bending 
an ordinary hair pin as indicated in Fig. 65, a quick and inexpensive 
tripod can be made to hold the cards. 



INDEX 



PAGE 

Back rest 94 

Turning with 94 98 

Balls 96, 97, 98 

Bed posts 98 

Stock 98 

Turning 98 

Back rest 98 

Boring . . 72 

Lathe 72, 78 

Gavels 50 

Mallet head 40, 46, 47 

Bowls 54 

Stock 54 

Gluing 56 

Turning 54, 56, 60 

Templet 56 

Finishing 60 

Nut set 86 

Boxes 68 

General types 68 

Method of turning 68, 70 

Fitting the cover 70 

Collar box 84 

Button box for collar box 86 

Calipers . 22 

Setting 22 

Candle sticks. 70 

Material 70 

The base 70 

The shaft 72 

Turning 70, 72, 76 

Plugging the end 76 

Gluing base and shaft together ... 76 

Cheese and cracker dish 86 

Method of turning 86 

Chucks 63 

Bell 63 

Screw 63 

Clock casing 88,92 

Turning 88, 92 

Shrinkage of wood 92 

Collar box 84 

Building up 84 , 86 

Inlay 84, 86 

Button box 86 

Combination turning 70 

Candle sticks 70 

Lamp standard 76 

Croquet Set 94 

Mallet 94 95 

Balls, blocking out 96, 97 



PAGE 

Croquet Set, Turning 95> 96, 98 

Sandpapering 96 

Stake 98 

Finishing set 98 

Darning ball 29 

Stock 29 

Blocking out 30 

Polishing and sandpapering 30 

Design 27 

Lack of 27, 28 

Governed by material and use of 

object 28 

Necessary qualities 28, 29 

Dont's 103, 104 

Dumb-bells 38 

Stock 38 

Two methods of turning 38, 40 

Blocking 40 

Exhibit 10, 106 

School 10 

Grouping and arrangement 12, 106 

Correlation work 97 

Display 106, 108 

Lettered show card holder lo'i 

Finishing 33 

Applying stain 33, 34 

French polishing 34 3.5 

Varnishing 35.36 

Gage 22 

Use of 22 

Gavel 47 

Material used in making 47,5° 

Design 47 

Boring a hole in head for handle. . . 50 

Turning the handle 50 

Putting together 50 

Gouge 19 

Roughing off. 19 

Turning coves 27 

Grinding and sharpening 14, 15, 16 

See Tools 12 

Handles, screwdriver 40, 42 

Material used 40 

Method of procedure 40, 44 

Indian clubs 35. 38, 39 

Material 38 

Blocking out 35 

Templet in use 38 

Instruction model board 23 

Lamp standard 76 

Grooving out center hole 76 

109 



no 



INDEX 



PAGE 

Lamp standard, Floor lamp 102 

Stock used 102 

Fluting standard 102 

Finishing 102 

Lathe boring 78 

Boring holes . 78 

Face-plate boring 78 

Long piece turning 98 

Four-post bed 98 

Mallet 44 

Material used 44 

Two methods of boring hole in 

head 40,46,47 

Removing from lathe 47 

Napkin rings 60 

Material used 62 

Planing stock 62 

Turning on arbor 62 

Re-chucking 62 , 63 

Screw chuck work 63 

Bell chuck turning 63, 68 

Nut set 88 

Design of 88 

Assembling and finishing 88 

See Bowls 54 

Parting tool and calipers 20, 21 

Use of 20, 21 

Turner's sizer 20, 21, 22 

Obtaining diameters 21 

Working freely with calipers 21 

Accurate setting of calipers 22 

Picture frame 68 

Gluing 68 

Segments 68 

Potato masher 36 

Material used 36 

Method of procedure 36 

Locating diameters 36 

Finishing 36 

Rebate 82 

Cutting 82 

Rolling pin 51 

Material used 51 

Shaft and handles 51 

Blocking handles 51 

Turning 51, 54 

Gluing together 54 

Sandpapering 2>° 2>2 2,2, 

Quality to use 2° 32^32 

Obtaining a good finish 32 

Spindle work ;^2> 

End grain work 95 

Segment work 78 

Laying out 78 



PAGE 

Segment work, when to use segments 78 

Gluing up 80, 82 

Theory of 80 

Number of segments used 80 

The sixth or last segment 82 

Turning ,82, 84 

Sewing set 86 

Turning 86 

Gluing together 86 

Shop II 

Equipment 11 , 13 , 14 

Plan arrangement 11 12 

Discipline 104, 105 

System.. 105, 106 

Skew chisel for smoothing cylinders 

22, 23 

Position 22 

Cutting off 24 

Stock 23 

Turning 23 

Model board 23 

Skew chisel for V's and beads 24 

Method of procedure 24 26 

Position of tools 24, 26 

To insure symmetry and correct 
diameter 26 

Spindle turning '. 17 

Starting 17 

Re-centering 17 18 

Placing in lathe 18, 19 

Position at lathe 19 

Roughing off 20 

Long turning 95, 98 

Tools 12 

Equipment of each lathe 13 

Various kinds of tools 13 

Equipment of each bench 13 

Grinding and sharpening 14, 1 5, 

16, 17 

Use of parting tool 20 21 

Use of turner's sizer 20 21, 22 

Use of gage 22 

Use of skew chisel 22, 23, 24, 26 

Contents of tool rack 13 

Trays, serving . 84 

First and second rebates 84 

Finishing the bottom 84 

Wheels 92 

For tea wagon 92,94 

Making of hub 92, 94 

Method of building up 94 

Method of gluing 94 

Woods used in turning 102 

Varieties of wood 102, 103 



